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I must admit it took me some time to get past the gory first chapter, but once I read on I could see how it was necesary for the development of the character. Thankfully, he becomes more humane as the book progresses because he unwittedly falls in love with his next victim. Set in the idyllic town of La Jolla California it truly makes you want to make this your next vacation spot.
The story develops very smoothly and quickly and you might want to set aside some time to read it because you won't be able to put it down! Even thou the protagonist is a despicable madman his character is thouroughly explored and his sick warped mind exposed.I found his victim to be a little too naive and trusting but her fathers' overprotectiveness drives her into the wrong arms. While reading it I could easily invision this as a movie with say, Vivica Fox as the leading lady? I think the author would agree. Leading Man? How about Jim Caviezel (Angel Eyes)?
He plays that dark, sinister, mystery man role very well. This is a great thriller and I look forward to more from this well written author.
I was truly impressed with the fact that the Author Frederick Regenold was so detailed with the scenery of La Jalla, the beach, the restaurants and especially his characters. It was as though you were there!! I pictured everything and it seemed so beautiful, warm, scenic/tranquil very hard to come back to reality!
Mr. Regenold used the vocabulary at its best! I can't wait for his next novel. (Hopefully a sequel to this one)! I want more to happen with these two characters. I can't say enough about the book without giving some of it away. This is a must read novel.
I was surprised however, that I was unable to find his book in the bookstores! I was only able to find it on the Internet. I'm an avid reader and often at the bookstores. I hope to find his novels in our bookstores soon!
I am surprised that I could find his book only on the Internet.
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This is the record of Cannon with the support to Trotsky fighting for a clear principled way to turn the movement to the potential of workers resistance, to struggles by Blacks around the Scottsboro frame-up among other things, and at the same time building internationalist principles.
This is also the story of how the CLA and the world movement led by Trotsky realized that the Stalinist capitulation to Hitler in 1933 meant the Comintern was dead, and a new revolutionary international was required.
Everything Cannon writes has a certain wit and wisdom about it, where the value goes beyond the political to the personal and beyond. Even though these were tough times, there is even a glint of humor to be discovered where you might least expect it
Here you will find week-by-week, sometimes day-by-day, news, analysis, and proposals for action. Cannon writes as a participant and leader of a workers party involved in organizing coal miners, textile strikes, the big 1933 New York hotel strike, the historic Minneapolis Teamsters strikes of 1934. He takes up key international questions: the evolution of the Stalinist leadership in the Soviet Union, the rise of fascism in Germany, and the difficult, persistent efforts led by Leon Trotsky to rebuild a new revolutionary international movement. Many of his writings detail questions of party leadership, lessons of faction and tendency struggles, or answer key practical questions: "what to do next?"
I'd strongly suggest reading this along with Cannon's "History of American Trotskyism" that covers the same historic period, "Teamster Rebellion" by Farrell Dobbs, and current writings that pick up the struggle today, including "Their Trotsky and Ours" and "Capitalism's World Disorder" by Jack Barnes.
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Frederick is trying to balance a lot of things in "Dominion": there are well over a dozen significant characters, a good bit of action, some speculative technology, and a powerful social theme all within the space of a short novella. For the most part he succeeds, although I would have liked to have seen more than two ethnic groups (black and white) in the story, and a few characters are introduced but don't actually DO very much, suggesting that they'll have larger roles in the next book in the trilogy.
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The intensity with which Busch presents his emotionality is enhanced by his incredibly insightful portrayal of the processes of the human mind. His stories are so rich with the deepest of our hidden thoughts that they become almost palpable. In these stories, Busch portrays highly intelligent people working with personal intimacies that are highly personal, yet so universal at the same time.
Particularly attractive is his "novella" in the book, "Handbook For Spies." Not only is the story captivatingly well written, but it is a virtual social commentary beyond the basics of the plot he lays out. In addition, his implication seems to be, that in one way or another, we are all 'spies' in some sense or another, or at least we act like them. In an editorial moment, his comment that Philip Roth is "careless about his character's lives ... he's frivolous about them..." portrays an unusually striking ability for Busch to develop his characters in a more mature emotional manner than he feels that Roth does.
Any person who enjoys the short story genre will not be disappointed by this book by Busch. For those with a high level of sensitivity toward human introspection, this book is a true revelation.
For a volume thick with stories, "Don't Tell Anyone" is a quietly ironic title. The characters talk -- to friends or strangers, to themselves, even to ghosts -- trying to make sense of things and relieve their isolation. Like the protagonist in the opening story, "Heads," the characters throughout Frederick Busch's 20th book of fiction are filled with "half-remembered words, tatters of statement, halves of stories, the litter of alibis, confessions, supplications, and demand."
Talking sometimes closes more doors than it opens, or taps into buried rages that erupt in threats of violence. As if improved expression could solve the problem, characters correct their own and each other's phrasing. But language has a life of its own, confusing and concealing even when a speaker is being careful or terribly honest, and what one tells oneself can be the most treacherous story of all. The title urges silence for strong reasons. Yet secrets cut the characters off from people they love, as well as from themselves.
Busch's world is problematic, but his stories awaken deep joy in the reader. In the gorgeous, heart-rending story "Malvasia," a woman brings all sorts of comforts to her recently widowed father, who wants nothing except to believe that when night falls his wife will greet him in the room they used to share. In "Timberline," the narrator's flashback to a dangerous hike with his father won't let the reader go, and this memory is only one dimension of his gripping present crisis. Some of an old man's haunting, half-realized wisdom in "Machias" comes from once having held together a broken telephone wire in a blizzard, so that a doctor could be called to help birth a baby. In the old man's recollection, the message passed through his veins.
Most of the stories are about the things that happen to everyone -- a love lost, a child in trouble, a parent understood -- but that never come with directions or guiding principles attached. The rules and regulations of bureaucracies, on the other hand, are plentiful.
In "The Baby in the Box," the legislature controls the police department budget, so the hapless and terrified night dispatcher at the station, Ivanhoe Krisp, is the only person available when a midnight caller says a newborn was left in a dumpster. Our hero has to ride a poorly maintained, not-at-all-trusty SUV through the darkness to the rescue, and his wrenching question at the end ("Who ' would throw a person away?") won't be answered by any bureaucrat.
Nor, apparently, by any God. The book's title could be a mischievous deity's instructions to the universe: Don't tell anyone what things mean. Don't even tell people who they are. Is Krisp a hero like the great Scots warrior Ivanhoe, or just a flaky snack for the hungry night? When the narrator in "Timberline" has an amazing conversation with a stranger, has his life changed, or hasn't it? "Nobody tells him which."
Sometimes knowledge arrives, although in bizarre forms. In "Bob's Your Uncle" a psychotic young man ("wily and odd-looking, very large and a little arrested-sounding, and coated with the grime of the world") drops in on long-ago friends of his parents and won't leave. His misery and menace become a coded message to the host about himself.
Busch's understanding and compassion are generous and energetic. So is his fascination with how life goes wrong and how irrationally, impossibly, we keep trying to make things right. Each of his very different characters speaks in a unique yet natural voice. His plots move like good horses with expert riders -- a touch here, a subtle shift of weight there -- through dauntingly broken terrain. His phrasing is often brilliant; his syntax does effortless heavy lifting; his humor is a constant, unexpected grace and delight.
"Don't Tell Anyone" is a hugely satisfying book, and its author (this isn't news, but do tell everyone) is a genius of a storyteller.
Busch writes the kind of dialogue you might wish you encountered in your own conversations: sharp, witty, wise, intriguing. His language is impeccable, with descriptions so memorable I sometimes stopped reading in admiration, to savor the words. Busch can be as funny as he can be melancholy, and every last story in this book has tremendous emotional range.
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